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COLLECTED BY THE LATE 


‘Mrs. A. G. HUNT 


WASHINGTON, D. C. 


/ “AND A NUMBER OF IMPORTANT WORKS IN OIL 
BELONGING TO THE ESTATE OF THE LATE 


WARD BIERSTADT 


ie" ~NEW YORK 


American Art Galleries 
Madison Square South 
New York 


es oe oe oe 


ate 


Hoek 
e) 
71 
‘ 


saul e held ra Biers a the 
for Bee night. Interest 


: “place in the history of 
enting a tradition which 
gue, but which can never be 


very slowly formed. Paint- 
in the 50’s considered that a 


ose which. have ruled for the last 
irty years. | The influence of the 


7 movement was undreamed of in the 
city. The teaching of Diisseldorf 
Hudson River group was all along 


style and yet practise a kind of 
d of no grandeur whatever. This 
stadt did, producing pictures of 

but painting them with a strangely 


ade of his work if he had brought 
ne of style to the treatment of 


mething of their beauty and im- 
cy oaee But in the ‘same instant 


you see also that it lacks true charm 
, that in color and in drawing 
hort a ve breadth and elasticity 


fats country was destined to be carried on 
her hands. To recognize this fact is not to 
stimate the interest of this very early plo- 
; work. It was useful work in its day. 
have changed. All can raise the flower now, 


t and established. 


dent. When Albert Bierstadt 
‘Diisseldorf our ideals of land- 


should be above all things the por- 
en scene, and they were content, if 
re with technical methods in- curi-. 


had still to make {tself felt, The 


close analysis. An artist might cul- 


interesting to specilate on what 


strove to reach a high standard long before our 
conception of landscape painting had been worked 


SSS 


is an extremely miscella-) 


colléction — ‘em 


ne Hunt 
neous affair. 


scapes, notably small examples of the late A. H. 


It contains several pleasing land-| 


| 
i 


Wyant and the late John Frederick Kensett, but 


the average throughout is not precisely exhilarat- 


The best opportunities for the collector are. 


ing. 


offered in the department of prints, wherein there | 
“may be found a number of good pieces by Bar- 


tolozzi, Axel Haig, BR. W. Macbeth, Whistler and 


ort 
on G 


on FREE VIEW 
FROM FRIDAY, JANUARY 177h 
"UNTIL WEDNESDAY, JANUARY 22x 


INCLUSIVE, FROM 9.00 A. M. UNTIL 6.00 P. M. 


ART PROPERTY 


ie COLLECTED BY THE LATE 


Mrs. A. G. HUNT 


AND IMPORTANT WORKS IN OIL BELONGING 
TO THE ESTATE OF THE LATE 


EDWARD BIERSTADT 


UNRESTRICTED PUBLIC SALE 


WEDNESDAY AND THURSDAY EVENINGS 
JANUARY 22ND AND 23RD 


BEGINNING PROMPTLY AT 8 O'CLOCK . 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


CATALOGUE 


OF 


VALUABLE OIL PAINTINGS 


WATER COLORS, ETCHINGS, ENGRAVINGS 
COLOR PRINTS AND DRAWINGS 


COLLECTED BY THE LATE 


Mrs. A. G. HUNT 


AND A NUMBER OF IMPORTANT WORKS IN OIL 
BELONGING TO THE ESTATE OF THE LATE 


EDWARD BIERSTADT 


NEW YORK 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


AT THE AMERICAN ART GALLERIES 
ON THE EVENINGS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, Managers 
NEW YORK : 1908 


. Press of J. J. Little & Ceutt 
Astor Place, New York — ees 


oe eee 
APN. SRT 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be im- 
mediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 


8. The undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, and 
although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold them- 
selves responsible for the acts and charges of the parties engaged 
for such services. 


Tue AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, Avcrioneer. 


CATALOGUE 


FIRST EVENING’S SALE 


WEDNESDAY, JANUARY 22p, 1908 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8 O'CLOCK 


DRAWINGS AND WATER COLORS 


No. 1 


rg ig UNKNOWN 
LANDSCAPE Se Ir ae 


Water Color . 


Breswwe a small pond grow two large trees, which form 
the principal feature of the composition. Beyond lies a 
meadow, which stretches to a clump of other trees in the 
background, and in the middle distance a shepherd is hurry- 
ing his flock home in order to escape the storm which is 


rising on the horizon. 
Height, 51% inches; width, 4 inches. 


No. 2 
UNKNOWN 


VENUS AND CUPIDS 
Red Chalk Drawing 


BENEATH a spreading tree the goddess lies, supporting her- 
self on her left elbow, while with her right hand she tosses 
into the air two apples, to be scrambled for by a number 


of small cupids. 
Height, 5 inches; length, 61%, inches. 


No. 3 
UNKNOWN 


LOVE IMPRISONED 
Sepia Wash 


Two women and a man in class.» costume sit and stand 
round an enclosure formed of sharp-pointed arrows bound 
together. Within the enclosure are two cupids, one of whom 
raises his hands in an attitude of supplication, while the 
other is seated on the ground, the picture of despair. 


Height, 5 inches; length, TY, inches. 


No. 4 


HERMAN FREDERIK KAREL TEN KATE 
DUTCH: 1822—1891 


INTERIOR OF A TAVERN LS 
a }. oe Water Color ‘ 

Tue scene depicted is the interior of an old-fashioned inn, 

with tiled floor, plaster walls and wide stone fireplace. A 
swaggering man-at-arms in breastplate and jackboots is 

seated by a rough oaken table on which is a huge mug 

of beer, while the serving maid in a blue bodice and up- 

turned skirt is neglecting her work to talk to him. The 


sunlight streaming through the casement falls upon two 
other men seated in a corner, who, to judge from their 


_ expressions, are viewing the little scene with feelings of 


jealousy and annoyance. 


Signed on the right, Herman TEN Kare, ’88. 


Height, 7 inches; length, 91 inches. 


No. 5 


L. LANGLOIS 


SETTERS 
Bee oe “0 Water Color ae , 


Two setters have winded some game in a clump of under- 
brush, and are waiting with tails stiff and every sense alert 
for it to rise. The view extends under a sky covered with 
fleecy clouds, across a bare moor to a range of hills show- 
ing blue in the far distance. 


Signed on the right, L. Lanciois apres OC DE PENNE. 


Height, 131% inches; length, 1914, inches. 


No. 6 


DAVID ROBERTS, R.A. 
ce SCOTCH: 1796—1864 


INTERIOR OF A TEMPLE 
Ve od s? Sepia Wash 


From a pool in the foreground the picture shows 4 /vista 
through the colonnaded hall of a rock-hewn temple in India 
to the open air. The walls are lined with statues of Bud- 
dhist deities, and grotesque lions and elephants watch over 


the sacred pool. 
Height, 1314 inches; length, 22 inches. 


No. 7 


ELIAS P. VAN BOMMEL 


wor eal 7 Loe. Ty Hoe 


SKATING ON THE OUTSKIRTS OF AMSTERDAM 


THE figures of several skaters are seen disporting them- 
selves on the frozen waters of a canal which surrounds a 
large windmill. A large barge is frozen in at her moorings 
close by. On the right are the houses and buildings of 
- Amsterdam, prominent among them being a large church. 
On the left is seen another large mill, and a third is in the 
distance. 


Signed on the left, E. P van BomMeEt. 
Height, 101% inches; length, 16 inches, 
Exhibited at the Royal Academy in Amsterdam, March, 1881. 


No. 8 


C. P. GRUPPE a 
CANADIAN : 


oe SO Contemporary 


HOMEWARD BOUND Vee: V ) gel 


Water Color 


BesipE a broad dyke, a deep-rutted country road runs 
through rank meadows to a large and populous village, 
whose red-tiled roofs and picturesque windmills stretch 
across the background of the picture. In the failing light 
of evening a peasant in blue tunic and heavy sabots trudges 
home with his scythe over his shoulders, which are bent with 
toil and weariness. A thick bank of clouds is rising on 
the horizon and spreads gradually over the whole sky. 


Signed on the right, Grurre. 
Height, 15 inches; length, 224, inches. 


No. 9 
E. NAULLCHUT 


A PEACEFUL EVENING 
/ - Sd Water Color 


Besine a shallow mere a peasant is mooring his boat, stand- 
ing up to his knees in the marshy sedge. Flat, luxuriant 
meadows typical of the fen country stretch away to the 
horizon, where they meet a range of low wooded hills. A 
large windmill is a prominent feature of the middle distance. 


Signed on the left. 
Height, 121%, inches; length, 241% inches. 


No. 10 


L. LANGLOIS 


Be ada Nn 
end ma, Water Color | a nd hee 


Two fine Irish setters are searching among the reeds/on 
the bank of a river for a bird which has been shot and has. 
fallen dead or wounded near the water. The view extends 
across the river to pleasantly wooded meadows and the out- 
lines of distant hills. : 


Signed on the left, L. Lanetors. 
Height, 13 inches; length, 241 inches. 


No. 11 
G. SIMONI 
ITALIAN 
Contemporary } 
AN ARAB ale OL eae 
fot Whe Ras Water Color 


Berore a whitewashed wall, in the full light of an African 
sun, stands a barefooted Arab. He wears a white burnouse 
over a lighter garment of linen. His head is enveloped 
in a white cloth, over which is worn a broad-brimmed high- 
crowned hat of plaited grass, which is decorated in various 
colors. A gun with a characteristic stock and long barrel 
is slung on his back, and his left hand grasps the hilt of 
a heavy, curved sword. 


Signed on the right, G. Simont, Roma, ’86. 
Height, 211, inches; width, 141% inches. 


No. 12 


RAOUL M. DE LONGPRE FILS — 
; oe e? FRENCH 


Contemporary 
FLOWERS ef, 4 to 
On a stone balustrade is a great bunch of flowers, purple 


lilacs and yellow tea-roses. The lilacs are full blown and 
have lost some of their blooms, which lie scattered on the 
stones. 

Signed on the right, Raout M. pe Lonepre Fits. 


Height, 211%, inches; length, 29 inches. 


No. 13 
MARIOTT 
THE DRINKING PLACE Cr tee ia ee , 
ve : a Water Color 


On the marshy bank of a broad shallow river in India 
three huge buffaloes stand, enjoying their evening drink. 
Some noise has evidently disturbed them, for they stand 
with heads uplifted gazing across the water at the farther 
bank, which stretches from the middle distance to the 
horizon. The vegetation is coarse and stunted, an occa- 
sional tree accentuating its monotony. The picture is 
strongly lit by a warm sunset glow which is reflected from 
the placid water. f 


Signed on the left, Mariorr, Roma, 88. 
Height, 2514 inches; length, 32 inches. 


ne 


OIL PAINTINGS 


No. 14 


JQ. UNKNOWN 


THE STORM oe Vn vA 


Tue scene shows a desolate moorland, on which stand a 
deserted castle and the gnarled limbs of a dead tree. Be- 
side a rocky stream in the foreground a shepherd is urging 
his flock homeward to get shelter from a storm which is 
rapidly darkening the sky. 


Height, 31, inches; length, 5 inches. 


No. 15 


ANTONIO PASCUTTI 
ITALIAN 


| oD, " J? Contemporary a 4 seks 
AN INTERESTING BOOK ; ; 


BesiwE a round table, on which are arranged a couple of 
books and writing materials, stands a young lady, her eyes 
cast down and her attention absorbed in a book which she 
is reading. She wears a red dress with a lace fichu, and 
on her arm hangs a brilliantly colored Italian shawl. 


Signed on the left, A. Pascurri, 1873. 
Height, 6 inches; width, 434, inches. 


HUGO BRELING 
GERMAN 


-o? . 
o 4 Contemporary 


SCOUTS 


Two men-at-arms, in ear 
taking a surreptitious 
of them is mounted on a gray choroee and holds 
panion’s steed by the bridle. The latter has discar 
broad-brimmed hat and is climbing a nearby tree to. 
a better view. The trees. and bushes are almost bar 


approach of winter. 


Signed on the left, H. BRELING. 


No. 17 


THEODORE SCHMIDT 
GERMAN 


| ors ontemporar le 4 
2 On aad (tus ery .. 


CHILDHOOD PLEASURES 


A smatu child, with her curly hair confined beneath a red 
cap, is kneeling on a bundle in a hand truck. Her sister, 
a year or two older, is seated on an upturned basket facing 
_ her, and with a spoon is giving her a taste of some dainty 
contained in an earthen jar on her knee. Two geese are 
hastily approaching to get their share of the feast. 


Signed on the upper right, THEopoRE ScHMIDT. 


Height, 8 inches; width, 6 inches. 


No. 18 


VINCENT DE VOS 
Soe BELGIAN 


TRAINED DOGS RESTIN 


A croup of three canine performers, a poodle, a black-and- 
tan and a nondescript mongrel, are taking their ease after 
the performance. A large horn, clumsy dice cubes and 
some stands, which evidently form part of their stock in 
trade, lie scattered about among the straw, while the ex- 
pectant look in the dogs’ eyes indicate that the large bowl 
in the background should soon be filled with the reward 
of their exertions. 

Signed on back: JE CERTIFIE AVOIR PEINT LE TABLEAU CI CONTRE 


INTITULE “LES CHIENS SAVANTS EN REPOS.”—Covurtral, 26/6/74, 


VT DE Vos. 
Height, 6 inches; length, 9 inches. 


No. 19 


6 oo UNKNOWN 
aor OG Ts YY, 


COOK AND MAID 


A wuire-coatep chef, with a long white cap on his head, 
has been cleaning a pair of speckled trout, which lie on 
the board before him, in company with a fine duck. He 
stops a moment to chuck the chin of a servant maid. 


Height, 71/4, inches; width, 6 inches. 


No. 20 . 


G: G. CHARDIN 
ro 
LO FRENCH 


LANDSCAPE ; WA pl) 4 


A Narrow stream runs between tree-grown banks to joi 
a larger stream in the middle distance, upon the bosom 
of which floats a flat-bottomed boat. The view extends 
beyond the water over a sunny meadow to a quiet village 


nestling among great trees. The warm summer sky is 
covered with fleecy cirri reddened by the glow of approach- 
ing sunset. 


Signed on the left, G. G. Cuarpin. 
| Height, 61% inches; length, 91/, inches. 


No. 21 


if oo UNKNOWN 


A PASSING SHOWER Leys SA - BVUAC EL. 


Tue keep of a ruined castle stands beside the still waters 
of a small lake. A sharp squall of rain is sweeping over 
the landscape, shrouding the distant hills in mist. 


Height, 7 inches; length, 9 inches. 


No. 22 


IRI ie oa se, 


STUDIES OF HEAD 


Consisting of four studies of the head of an old man“of — 
patriarchal appearance with gray hair and long, flowing 


beard. 
Each panel: Height, 934 inches; width, 7 inches. 


No. 23 
¢ 


SOPHIE HOUSSANT 


RETURNING HOME 


ve oe. ce Painted on cit Hie i 


ALONG a country road beside a quiet stream a peagant is 
leading his donkey, accompanied by a goat, cow and\sheep. 
Other figures, standing and seated, appear in the distance. 
A fine tree on a grassy slope is seen to the left, while in 
the background a large gaunt-looking building stands be- 
neath a rugged craggy mountain. The whole scene is lit 
with the warm light of approaching sunset. 


Signed on the right, SopHie Hovssanr. 
| Height, 7 inches; length, 94% inches. 


No. 24 


THEODORE STRASBERGER 
pee? GERMAN 


iss 
FRENCH ARTILLERY a MA - 


A team of four heavy horses is pulling a field-piecd, /the 
limber of which can just be seen on the left of the picture, 
over a rough field. The artillerymen wear the blue tunics 
and tall shakoes typical of the French army towards the 
middle of the nineteenth century. 


Height, 7 inches; length, 101% inches. 


No. 25 


Bee VLAN TT. NA. 


fo 3 ¢? AMERICAN: 1836—1892 Wy Dian Le 


BABE IN THE IVY 


Tue picture of a fair-haired infant asleep in a bower 
formed of a dense mass of ivy. She is clad in a white dress 
with short sleeves, and is surrounded with a species of 
nimbus, apparently proceeding from her golden hair. 


Signed on the right, A. H. Wyant, ’70. 
Height, 10 inches; width, 8 inches. 


No. 26 


FRENCH: 1829—1900 oe 
SUNSHINE Ty. fe f WV grvle 
Tue picture shows a clump of trees, for the most part 
silver birch, surmounting a rounded grassy knoll, up which 
a young peasant woman in white chemise and blue skirt is 
carrying a bundle. Beyond the shoulder of the hill the 
landscape stretches, blue in the distance, till it meets the 


horizon, The sky is covered with light cloud strata, through 
which patches of blue appear near the zenith. 


fee /o PAUL DESIRE TROUILLEBERT 
3 r 


Signed on the right, 'TROUILLEBERT. 


Height, 8% inches; length, 10% inches. 


No, 37 


WOUTERNS VERSCHUUR 
ne DUTCH: 1821—1874 


APPROACHING one K)) é CR 


BesiveE a sluggish stream, spanned in the distance /by a 
wooden bridge, stand a group of horses with rough manes 
and tails, accompanied by a solitary goat. With heads hang- 
ing down, they stand facing a sharp storm of rain and 
wind, which has covered the sky with heavy clouds and 
blotted out the landscape under a blanket of driving mist. 


Signed on the right, W. VerscHuvr. 


Height, 8% inches; length, 1114 inches. 


No. 28 


Aerie aW YAN T, > N.A: 


ag or.” ¢ AMERICAN: ae, A Lees 


SANDY BEACH 


Drawn just above high-water mark on a sandy beach which 
shelves sharply to the water lie a fishing boat, with its sails 
raised to dry in the breeze, and a little dinghy. Just be- 
yond a man lies at his ease on the sand, and farther still 
are two more boats moored to a stake. The sea is calm and 
peaceful, showing the silvery reflection of a sun hidden 
behind a thin luminous mass of clouds. 


Signed on the right, A. H. Wyant, 1873. 
Height, 6 inches; length, 14 inches. 


No. 29 


Ue, UNKNOWN 


LS | 
ITALIAN LANDSCAPE t, i) 4 Corte 


A pPLacip river winds between deep wooded banks and dis- 
appears round a bend in the middle distance. On a sandy 
road which runs close by are groups of picturesque peasants 
chatting or proceeding homeward. The keep of an ancient 
castle is a prominent feature of the landscape, which shows 
a pleasantly wooded plain stretching to the horizon, wherr 
a lofty range of mountains stands in bold outline against 
the warm glow of the setting sun. 


Height, 91% inches; length, 131% inches, 


No. 30 


RICHARD NORRIS BROOKE a 

“ay bo AMERICAN) 1847 __ CEs: } a 
rn Lee , 

A DEEP-RUTTED country road rfins from the foreground of | 
the picture till it disappears round a bend in the middle . 
distance. On its right some red-walled cottages with 
thatched roofs stand behind a hedge, while on the left more 
houses are seen beyond a pasture and a field of young corn. 


A fine elm stands in bold relief against a sky which is cov- 
ered with heavy clouds. 


Signed on the left, R. N. B. 
Height, 91% inches; length, 13% inches. 


No. 31 


an 


BOY PLAYING ON A JEWS-HARP 


Tue half-length picture of a boy with fair hair, who is 
busily engaged in twanging a jews-harp, which he holds in 
his mouth with his left hand. He wears a three-cornered 
hat and a linen shirt, over which is a long green coat with 
large brass buttons. 


Height, 10 inches; width, 8% inches. 


No. 32 


GIULIO ROMANO 
ere q- ro EARLY ITALIAN 


a Kf) a, Up 
MADONNA AND CHILD ae A hs : 


Tue Virgin is shown full face, the head leaning slightly 
to the right and eyes cast down. Her hair, which is un- 
bound and falls over her shoulders, is covered by a film 
of lace. Round her shoulders she wears a mantle of red 
cloth over a tight-fitting dress of dark green. The Child 
is seated in her arms, his face turned towards the spectator, 
while he raises one hand to the cross which hangs round 
his mother’s neck. 


Height, 11 inches; width, 9 inches, 


No. 33 | 


gs N. SIEGERT 
ig oe 
GERMAN 


A WELCOME DRINK f CL - 


By the oak door of an ancient monastery stands a y 
monk, clad in the black and white robes of his order’ and 
holding in his hand an earthenware pitcher. He gazes with 
a benign expression on a little barefooted peasant girl and 
her brother, who have been out collecting firewood and have 
stopped at the monastery door for a drink of milk, which 
the little girl is eagerly enjoying, while the boy munches 
at a crust of bread, which constitutes the remainder of 
the meal. 


Signed on the right, N. Srecerr. 
Height, 12 inches; width, 91% inches. 


No. 34 


| A. C. HOWLAND, N.A. 
pa AMERICAN: 1838 


THE TROUT BROOK AY iY, pb hfe). 
A youne country lad is seated, fishing, on an old rail fence 


spanning a swift stream, which at this point makes a sharp 
bend and forms a deepish pool above some rocks. Behind 
stand two fair-sized trees, on the outskirts of a dark wood, 
bordering on a smiling meadow across which a field path 
leads to some buildings in the distance. The scene is 
strongly lit from a cloudy sky. 


Signed on the lefi, A. C. Howranp. 
Height, 12 inches; width, 10 inches. 


No. 35 


KARL PIERRE DAUBIGNY 


Ja FRENCH: 1846—1886 Y 
WASH DAY (p ee a Dek 


A LarGE wherry has drawn up to the bank of a sheltered 
stretch of water, and is being moored by a man in a flat- 
bottomed boat. In the foreground kneel two figures busily 
engaged in washing clothes in the stream. From the 
water's edge stretches a green pasture, in which are two 
large trees, and in the background a long range of low 
wooded hills stretches across the picture. The sky is covered 
with a heavy bank of clouds, which appears to presage rain. 


Signed on the left, Kart Davusicny. 


Height, 814 inches; length, 17 inches. 


No. 36 


ALS ce A. a0) 4 (p 


BABES IN THE WOOD 


A LITTLE girl some three or four years old, in a red Gap, 
lilac pinafore and stout-soled shoes, is seated on the ground 
in the shade of a dense thicket, crying lustily, with her 
fingers in her eyes. Her little brother, a year or so older, 
is trying tc comfort her, the while he looks apprehensively 
around as if he himself were somewhat scared by their 
plight. 

Height, 1014 inches; length, 131, inches. 


No. 37 


J. H. L. DE HAAS 
obo ar DUTCH: 1830 


cows Ay Oe p 
In the near foreground, in full sunlight, stand two cows, 


one gazing straight at the spectator, the other with lowered 
head cropping the sparse vegetation which is afforded by 
the sand dunes upon which they are pastured. In the dis- 
tance is a third cow, and their guardian, a woman, stands 
leaning on her staff, while she gazes at a white sail far 
out at sea. A few light strata of clouds float in the blue 
summer sky. 


Signed on the left, pe Haas. 
Height, 141, inches; width, 101% inches. 


No. 38 


G. DA POZZA 
ITALIAN 


Cw. 


A BuxoM young woman, who has been displaying her stock 
of earthenware in the shadow of a dark archway, is lean- 


oo." 


A LOVE SCENE 


ing against the wall listening coyly to the advances made 
by her lover, who stands close beside her, his arm round 
her shoulders. She wears the ordinary dress of the better 
class of Italian peasants, while he cuts a fine figure with a 
white linen shirt open at the neck, green velvet waistcoat, 
red sash, knee breeches and broad-brimmed hat. 


Signed on the left, G. pa Pozza. 
Height, 151, inches; width, 11 inches. 


No. 39 


JAMES D. SMILLIE, 
b G- AMERICAN: 1833— in re Tce 
EVENING AMONG THE HIGH SIERRAS // 


THE scene depicted is a snow-fed stream leaping down a 
gorge in the mountains, over ledges and down precipices. 
In the distance the last level rays of the sunset cast a ruddy 
glow on the higher peaks, while dark shadows lie on the 
snow-clad ravines and valleys below. 


Signed on the lower right, J. SM1Lue. 
Height, 15 inches; width, 12 inches. 


39 A 


No. 40 


CAMILLE MAGNUS 
FRENCH 


LES - nf Con ayes aA Santi 


THE FOREST: onnoee 


On either side of a small clearing in the forest grow great 
beech trees, their thick branches almost concealing the sky. 
In the foreground is a small pool, its waters reflecting the 
blue of the heavens, and on the path which leads through 
the clearing an old peasant woman stands. ‘The sunlight 
falls in broad splashes on the trunks of the nearby trees 
and strongly illumines the foliage of those in the back- 
ground, accentuating the mysterious depths of the darkness 
beyond. 


Signed on the left, Camirte Macnvs. 


Height, 12 inches; length, 16 inches. 


No. 41 


E. CHAIGNEAU 


a 
a7 eed FRENCH 
es | Vays oe pre 


ferent BY THE WAY ( 


A BLUE-sMocKeED shepherd and his dog have been driving 
his flock beside a field of young corn, and he has stopped to 
speak with a young woman driving a donkey cart. The 
sheep, in a compact bunch, are busy feeding, while the dog 
sits on his haunches watching them closely. In the corn- 
field can be seen the scarlet heads of a few poppies in 
strong relief against the tender green. On the left a furze- 
covered common extends to a few trees on the sky line, 
while on the right are seen the cottages and school-house 
of a pleasant village. The sky is a deep blue, with a few 
dense cumuli floating above the distant horizon. 


Signed on the left, KE. CuaicNEau 
Height, 11 inches; length, 1714 inches. 


No. 42 


: An HO WY ANDES EN ag 
yo 77-0 ae AMERICAN; 1836—1892 
: ) f 
A MOUNTAIN LAK rn ry 9 y 
Over a rough boulder-strewn patch of ground, between two 
clumps of trees, is seen the mirror-like surface of a small 
lake, reflecting in its depths both the blue of the sky and 
the verdure-clad slopes of the mountain beyond, which can 
be only dimly seen through a thin film of mist, and which 
melts away into a mysterious distance as it reaches the 
clouds. 


Signed on the left, A. H. Wranr. 
Height, 161%, inches; width, 131% inches. 


No. 43 


JOHN FREDERICK KENSETT, N.A. 
AMERICAN: 1818—1872 


A STILL POOL Tre An ff 
A sWIFT-RUNNING stream, spanned in the distance by a 
rustic bridge, descends a ledge of rock and suddehly widens 
into a deep, quiet pool, giving a mirror-like effect in the 
deep shade of the thick growth of trees which surround it, 


and which almost obscure the sky save for a patch of blue 


near the zenith. 
Height, 16 inches; width, 14 inches. 


No. 44 


GEORGE BURELL WILLCOCK 


Jo. oe ENGLISH: 1811—18 
THE WOODLAND dl A) Y, Crh lfc Me 


In a thick clump of ancient trees can be seen a red-roofed, 
white-walled cottage, enclosed by a fence of split oak 
palings. In the dust of the road outside are playing some 
children and a dog, and half way up a steep hill a man is 
resting his horse, which crops the herbage by the roadside. 
Between the trees is a glimpse of fields and cottages, with 
the road winding away in the distance. The picture is 
strongly lighted from a sky which is covered with a thin 


stratum of cloud. 
Height, 13 inches; length, 17 inches. 


No. 45 


WORDSWORTH A. THOMPSON, N.A. 
AMERICAN: 1840—1896 


THE VILLAGE OF EAST HAMPTON, 


i ale (tir ISLANG, 
THE scene depicts a typi ong Island landscape, green 


and smiling under a summer sun. In the foreground an 
elderly farmer, who is bringing his flour from the mill on 
a barrow, stops to chat with a young woman who is carry- 
ing her baby on her arm. A small urchin and a little girl 
are interested listeners. ‘The wind-mill itself is a promi- 
nent object of the composition, and stands on the edge of 
a little plateau overlooking the surrounding: country. To 
the right the view extends over a field in which several 
head of cattle are browsing, to some buildings and a wide 
stretch of landscape reaching to the horizon. The sky, in 
which float masses of white cloud, is a bright summer blue. 


Signed on the left, WorpswortaH Tompson, 774. 


Height, 131, inches; length, 18 inches. 


No. 46 


GEORGE C. LAMBDIN ie 
ea AMERICAN: 1830— Vays ; Lh’ 


A LILY POND IN NEW JERSEY 


_A Few broad-leaved lily plants float on the water, their 
white blossoms forming a strong contrast to the background 
formed by the dark, still depths of the pond and the rushes 
round its edge. 


Signed on the right, Gro. C. Lamspin. 
Height, 19 inches; width, 151/, inches. 


No. 47 


AVYTER PETER PAUL RUBENS 


Jt 
DESCENT FROM THE CROSS Oe: V 


Tue shoulders of the Saviour are supported by an elderly 
man, presumably Joseph of Arimathea, while a younger 
man holds the legs. A woman kneels in the foreground, 
and beyond stand other wailing women, while a young 
man lights the scene with a huge candle. The background 
shows a dark mass of rock and a tree silhouetted against 
a dark blue sky. 


Height, 20 inches; width, 13 inches. 


No. 48 


E. WOOD PERRY, N.A. 
B 0: se AMERICAN: 1831— 


ANNE HATHAWAY de re. & (rf A 7 
THE picture shows the interior of the living room of/An 4 


Hathaway’s cottage at Stratford-on-Avon, with the oak 
settle before the wide fireplace, the quaint andirons and 
the jack for cooking meat, the candlesticks and other 
domestic utensils on the lofty mantel-piece, the tiled floor 
and the low, dark ceiling. Anne is standing by the table 
in an attitude of anxious expectancy, as if she heard the 
Bard’s footstep on the threshold. She is clad in a crimson 
dress with puffed sleeves, over which is a dark apron. On 
her head she wears a close-fitting cap, and her dark hair — 
hangs in a long plait down her back. 


Height, 15 inches; length, 21 inches. | 


No. 49 


FRANCES HUNT THROOP 
AMERICAN 
oy id P) Contemporary 


FLOWERS 7 ne 


On a table covered with a deep yellow cloth lies a gredt 
mass of orange and yellow chrysanthemums, while some a 
standing in a glass bowl close by. Strong light from the 
upper left makes vivid contrasts of light and shade. The 
background is a graded tone of yellow. 

Signed on the upper right, Frances Hunt Turoop. 


Height, 17 inches; length, 21 inches. 


No. 50 


Peo RAL CCA 


ae yO ITALIAN Otte ie he 
A GAME OF CARDS 


SeaTepD at a table in what is evidently a wine vault, two 
old cronies are busily engaged in playing cards. One of 
them is a visitor, for his hat lies on a stool close by, while 
the elder of the two, with a grizzled chin and scarlet cap, 
is apparently the guardian of the great casks, which are 
dimly seen through a wide archway. A straw-covered flask 
and glass of wine stand on the table, while other bottles 
are hung in the archway or stand on shelves round the 


walls. 
Height, 1914, inches; length, 231%, inches. 


No. 51 


RICHARD NORRIS BROOKE 


ot cy AMERICAN: 1847 3 
HOMEWARD pa 4 p 3 
Pastel es 


A BLUE-sMOCKED shepherd stands, his crook under his arm, 
watching his flock of sheep slowly wend their way into the 
shed which is to shelter them during the night. A stack of 
straw half demolished stands close by, its covering raised — 
on five sturdy pillars. A brilliant sunset casts a warm glow 
over the scene, accentuating the gloom of a thick clump of 
trees to the right of the picture. 


Signed on the lower left, R. N. Brooxe, 
Height, 22 inches; length, 28 inches. 


No. 52 


LEG ‘ UNKNOWN Y 
A LONELY cone C tA VAG 
THE scene depicts a solitary stone-walled, straw-thatched a 
cottage on the banks of a smooth-flowing river. A flock of 
goats are feeding on the sparse vegetation which grows be- 
tween the masses of rock which cover the ground. Beyond 


the river the ground rises into forbidding-looking moun- 
tains stretching as far as the eye can reach. 


Height, 18 inches; length, 31 inches. 


No. 53 


SIR PETER LELY 


JAS ""  encrisu: 16171680 VY Uf YP ccth a 


THE DUCHESS OF CLEVELAND 


Tue head and shoulders of the famous beauty, who is 
depicted in a dress of brown silk cut low and strapped over 
the shoulders with pear] clasps, beneath which is worn a 
white chemisette. Around her neck is a string of large 
pearls, and in her ears are pear! drops, while her dark hair, 
which is brushed off the forehead and forms large masses 
on the back of her head, is also interwoven with ropes of 
pearls. The figure is strongly lighted from the upper right, 
the background being a graded tone of brown lightening 


behind the face. 
Height, 29 inches; width, 23 inches. 


No. 54 


SIR THOMAS LAWRENCE, R.A. 
if Ua os ies ENGLISH: 1769—1830 


i q 
PORTRAIT OF MRS. sip soy§) 4. thee | 
o LU ot 


A HALF-LENGTH portrait of the famous actress, shown in 
full face, the eyes looking straight at the spectator. She is 
simply clad in a plain white dress, open at the neck to dis- . 
close a gold chain, and confined beneath the bust by a 
girdle of light blue ribbon. Over her shoulders she wears 
a cloak of black turned back and lined with pink silk. Her 
hair is bound in several folds of tulle, between which stray 
ringlets peep out, and a band of the same material passes 
beneath her chin. Replica of the portrait in the National 


Gallery, London. 
Height, 29 inches; width, 24 inches. 


No. 55 
UNKNOWN : : 
THE VINTAGE o7 IO 
a JO Decorativ anel 


YounaG Bacchus is mounted on a lioness, which two of his — 
companions are leading by garlands of vine leaves. He is 
raising aloft a cup of wine, spilling the contents as he does 
so. Two other satellites are busily engaged, one in pluck- 
ing grapes, the other in carrying them in a basket to the ; 


wine vats. 
Height, 12 inches; length, 42 inches. 


No. 56 


UNKNOWN 


HUSBANDRY CO iS lhe 


cep £6 Pendant to the Preceding 


On 4 sunny plain a group of cupid-like figures are busily 
employed in the pursuit of husbandry. One is ploughing 
with a team of oxen, another sowing, while two more reap 
the crop and gather it into sheaves. 


Height, 12 inches; length, 42 inches. 


No. 57 


H. GIRARD 
FRENCH 


J, i, 4 Le aed a: do . 


AUTUMN SUNSET 


A swampy piece of ground, the pools of which glow red 
in the rays of the setting sun, occupies the foreground and 
stretches as far as a tangled mass of underbrush, near which 
stands an old woman in a blue dress and white cap. Be- 
yond lies another field, bounded by a hedge, and farther yet 
are the buildings and church spire of a small village, which 
lies at the foot of a low bare hill which slopes gently up- 
ward on the left. The trees are almost denuded of leaves 
and their bare branches stand out boldly against a sky 
in which the glow of the sunset still lingers. 


Signed on the right, H. Girarp, ’87. 
Height, 25 inches; length, 36 inches. 


The following described painting by the late 
FREDERIC E. CHURCH, N.A. 


is to be sold without restriction by order of Messrs. Coudert 
Brothers, Attorneys. 


No. 58 


FREDERIC E. CHURCH, N.A. 


>? IT: rd AMERICAN; Spy rade 


FALLS OF TORQUEMADA, MEXICO 


THE picture represents a wall of rock facing the spec- 
tator, almost semicircular in shape, the sides descending 
sheer and straight to a tumbled mass of rock at the bottom. 
Through a deep cleft in the centre of this rock-wall pours 
a stream of water which leaps in a cataract down the face 
of the cliff, and pursues its way at the bottom as a tor- 
rent, foaming among the rocks which obstruct its passage. 
The cloud of mist and spume raised by its abrupt descent 
floats across the gorge and slowly ascends to the upper air, 
partly concealing the luxuriant vegetation which clothes 
the summits of the cliffs. Among the rocks in the fore- 
ground grow a number of trees, and on the left a mass of 
ferns and scarlet flowers, and a gay-colored parrot lends a 
semi-tropical note to the scene. 


Signed on rock to left, F. E. Cuurcn, 1854. 
Height, 59¥, inches; width, 48 inches. 


NOTICE 


The following described eighteen pictures by 
the late 


ALBERT BIERSTADT, N-A. 


are to be sold without restriction by order of the 
executrices of the late Edward Bierstadt. 


Apert Biersrapr was born at Solingen, near Diisseldorf, Ger- 
many, January 7, 1830;.was brought by his parents, in 1832, to 
New Bedford, Mass., where he received his education in the 
public schools. In his youth he developed a marked taste for 
art, and was influenced in his choice of the profession by the ex- 
ample and success of his cousin Hasenclever, the German artist. 
In 1853 he went to Diisseldorf, where he studied three years under 
Lessing, and profited by criticisms of Leutze and Achenbach. 

This was followed by a year of study in Italy. 

Returning to the United States in 1857, he made tours in the 
West and in the Rocky Mountains, where he gathered material 
for a long series of paintings of American scenery, thus becom- 
ing the pioneer in this direction. In subsequent visits to Europe 
he collected material for Alpine and Italian subjects. 

He was elected to the National Academy in 1860. In 1867 he 
was commissioned by Congress to paint two pictures, “The Dis- 
covery of the Hudson by Hendrik Hudson” and “ The Settlement 
of California.” 

He received medals in Austria, Germany, Bavaria and Belgium. 
He was decorated in 1867 by the French Emperor with the Cross 
of the Legion of Honor; in 1869 and 1872 by the Czar of Russia 
with two degrees of the Order of St. Stanislaus, and in 1886 the 
Imperial Order of the Medjidi was conferred on him by the Sul- 
tan of Turkey. He died in New York, February 16, 1902. His 


masterpiece, “The Rocky Mountains,” also known as “ Lander’s 
Peak,” was finished in 1863, and was the result of a visit to the 
West with General Lander on a Government exploring expedition. 
It was first shown to the public at the Great Fair of the Sani- 
tary Commission in the city of New York in 1863. 

Subsequently it was exhibited in Boston, Washington and other 
cities in the East. It was purchased by James McHenry, and was 
taken by him to London in 1865, where it remained in his collec- 
tion until his death. In 1898 it was brought back to this country, 
and is now in the possession of the Metropolitan Museum of Art, 
New York City. The picture was engraved by James D. Smillie. 

Other well-known pictures by Mr. Bierstadt are: “A View on 
the Kern River, California”; ‘“ Sunset—Sierra Nevada Moun- 
tains,” both in the Gallery of the Hermitage in St. Petersburg; 
“The Old Faithful” (the Geyser in the Yellowstone Park), in 
the palace of the Sultan on the Bosporus; “The Great Trees of 
California,’ in the Imperial Palace at Berlin; “A Mountain 
Lake,” in the Corcoran Gallery, Washington; “ Laramie Peak,” 
in the Academy of Fine Arts, Buffalo; “ Mount Whitney,” Min- 
neapolis Museum; “ Domes of the Yosemite,” in the State Gallery 
of Vermont. 


No. 59 
200 7 
VIEW ON PASSAIC rived dog ety 


THE scene shows a still day in early autumn. The broad 
stream has not a ripple on its glassy surface, save where 
in the foreground a boat with three occupants is being 
rowed towards the bank, and in its still depths is mirrored 
the brilliant foliage of the trees which clothe either bank. 
The river stretches from the left foreground to the far 
distance, where it vanishes among the trees. The sky is a 
hazy blue, in which float a number of light clouds. 


Signed on the right, ABiersvanr. 


Height, 14 inches; length, 19 inches. 


pee” No. BO a. : 
INTERIOR OF A LIBRARY VA aA. 


In a straight-backed arm-chair near a window is seated 
a middle-aged lady in a plain blue gown, a book upon 
her knees, but her gaze directed towards the far end of 
the room. In another arm-chair sits a small boy deep in 
a large book. On the parquet floor is a fine rug; the win- 
dow and alcove are hung with rich curtains, while a hang- 
ing lamp and a glimpse of a piece of statuary indicate the 
taste of the owner. Through the window can be seen a 
mass of brilliant flowers against a green background, all in 
a blaze of sunlight. 


Signed on the left, ABrerstrapr. 
Height, 19 inches; width, 14 inches. 


No. 61 


Vag A.C 
SUNSET ON JUNGFRAU ; 


THe view extends over a grassy meadow in whi¢h are a 


man and some children working and playing. eat trees 
grow on either side, their branches meeting at the top to 


form a natural frame, through which can be seen a vista 
of meadow land and tree-clad foothills, and beyond them 
the majestic bulk of Jungfrau. The light has already 
left the lower slopes, which gradually assume a cold purple | 
tint, but the last rays still fall upon the topmost peaks, | 


suffusing them with a warm, ruddy glow in sharp contrast | 
with the lower snow fields and the darkness of the valleys. | 


Signed on the right, ABrersranr. 
Height, 18 inches; length, 27 inches. 


Jd py No. 62 


“MONT BLANC: sunrise {0 Y Cu 


From a grassy meadow in the deep shadow of three o 
four fine trees the view extends across the lake, on the 
bosom of whose waters a few sail are already astir, to the 
well-wooded banks beyond. In the distance, dominating 
everything, is the mass of Mont Blanc, lofty and majestic, 
the level rays of the early sun upon its snow-clad sides 
making contrasts of rosy pink and deep patches of shadow. 
The sky is almost cloudless, save for a few light cirri, and 
the horizon is aglow with the sun, which is as yet hidden 
by the bulk of the mountain. 


Signed on the left, ABrersrapr. 
Height, 181% inches; length, 2714, inches. 


No. 63 
ohtt 
MONCH AND JUNGFRA 
Tue needle-like peak of Ménch soars above the dense cloud 
which enshrouds its lower portifn, and stands boldly out 
against the blue sky. To the right, the more massive bulk 
of Jungfrau looms darkly through the mist, which, reveal- 
ing one huge buttress, conceals the rest from view in an 
impenetrable cloud. In the foreground on the right a small 
patch of green and a few trees indicate the site from which 


LG, 


the picture was painted. 


Signed on the right, ABrersTapr. 


Height, 2114, inches; length, 281% inches. 


No. 64 
QT” BEAL 
DISTANT VIEW OF MONCH, BERNESE ALPS 


Tue foreground of the picture shows a grassy hillside 
sloping sharply upwards to the right. Great boulders lie 
here and there, notably an enormous rock on the extreme 
left, and trees, chiefly pines, grow in luxuriant profusion. 
In the background, rising above a dense cloud which 
shrouds its lower slopes, is the lofty peak of Monch, cold 
_and blue against the summer blue of the sky. <A few light 
clouds float high in the air, and the rays of an afternoon 
sun cast long shadows down the hillside. 


Signed on the right, ABrerstanpr. 
Height, 28 inches; width, 21 inches, 


. No. 65 
alll Fasc Orble 


NEAR PLATTE RIVER 


In the crimson and gold of departing day a eee B 
of bison, a remnant of the mighty droves which once roved 
the plains, is approaching a shallow pool in the fore- 
ground of the picture for the evening drink. Shoulder 
deep in the luxuriant vegetation, they come in a long line 
to where the old bull, the leader of the herd, is already 
enjoying his fill of the. cool waters. Upon the right is a 
dense clump of tall trees, elms for the most part, which 
extends back as far as the eye can reach, and in the mist 
of sunset a few detached trees can be seen upon the 
horizon. 


Signed on the left, ABterstant. 
_ Height, 39 inches; width, 271, inches. 


No. 66 


dae | 
SARATOGA: AUTUMN Oe: a 


Tue scene shows a number of black belted Dutch cattle 

grazing upon a grassy plateau on which grow several fine ~ 
and well-shaped trees, which are clad in the crimson and 

russet of their autumn foliage. To the left the ground 

dips sharply, and then rises again in a gentle slope crowned 

with trees, among which are two white houses. Beyond, 

the ground rises and falls sharply, and, seen blue through 

the distance, finally becomes a range of lofty hills. The 

scene is strongly lit by a late afternoon sun, and the sky 

is a deep blue, in which float a few fleecy clouds. 


Signed on the right, ABrersvrapt. 
Height, 291, inches; length, 43 inches. 


No. 67 


THE MATTERHORN 


Lg" 


are clad with verdure of an almost mossy green. Its 
course carries it past ledges of rock, gnarled and riven 
trees, and clumps of lofty pine till it reaches the depths 
of the valley, which can be seen dimly below. Beyond the 
valley is a view of the Matterhorn, the lower slopes of 
which lie in shadow, swathed on the left in a light haze, 
while far above towers its peculiar pyramidal peak, sharply 
outlined against a blue sky in which a few light cirri float 
near the zenith. 


Signed on the left, ABrersranpr. 
Height, 39 inches; width, 2714 inches. 


oy. No. 68 P Wrat 


LAKE LUCERNE AFTER A pe 


Tux view shows the waters of the lake and a glimpse of 
the opposite shore after one of the severe and sudden 
storms to which it is peculiarly liable. The sky is covered 
by a dense storm cloud which shrouds the mountains and 
hills from view, and is unrelieved save for a single patch 
of blue at the zenith, whence a shaft of sunlight strikes 
the water, forming a patch of bright green on which rests 
the foot of a brilliant rainbow. 


Height, 30 inches; length, 43 inches. 


THE ae VALLEY pot Va) k fork Lhe 


In the foreground of the picture is a small patch of rocky 
ground, which stretches, tree covered, to the water’s edge. 
The river, broad and full, pursues its way, narrowing here 
and there, until lost in a distant haze. On either side the 
stupendous masses of the cliffs rise sheer almost from the 
water's edge; on the right their summits are veiled in a 
heavy mass of cloud, while on the left they stand outlined 
against the sky, gradually losing their distinctness as dis- 
tance interposes a light haze between them and the spec- 
tator. The warm glow of a late sun is upon the scene, 
deepening the pink of the cliffs and casting long shadows 
upon the patch of grass in the foreground. 


Signed on the right, ABrersranr. 
Height, 3714 inches; length, 591%, inches. 


No. 70 


THE JUNGFRAU AND O (pl UNNEN). 
Sos VALLEY 
7/0 OV 


Tue view leads down the valley, a mere cleft between the 
mountains, to the tremendous mass of Jungfrau, climb- 
ing peak upon peak to its curious dome-shaped summit. On 
the left the mountain side forms a pleasant little plateau, 
grass covered and with a number of pine trees growing 
upon it. On the right the mountain leaps upward in a 
sheer precipice several hundred feet high, down which 
pours the famous Staubbach Falls, joining the slender 
streamlet which runs at the bottom of the valley. At the 
foot of the falls are the buildings of a small village, and 
on the plateau to the left a few cowsheds and other farm 
buildings. The sky is a deep blue, in which float a few 
wisps of mist which have been driven off the mountain 
tops. 


Signed on the left, ABrersvanr. 
Height, 38 inches; length, 60 inches. 


No. 71. Kk (p 
oF f- Fo v Kk Y, o, 
THE GOLDEN GATE, CALIFORNIA Y 


In the foreground is a strip of sand, with some rocks on 
the left, on which play a number of sea-lions. The sea 
is breaking in great rollers along the foot of the high 
pink cliffs on the right, flinging aloft a dense cloud of 
spray which almost veils the entrance to the harbor, 
through which several ships are sailing. Beyond the en- 
trance the cliffs begin again, crowned with a lighthouse, 
and extend as far as the eye can reach. A heavy squall 
has swept over the scene, and for the most part the sky is 
dark and lowering, but a brilliant shaft of sunlight falls 
on the centre of the picture and the arch of a fine rainbow 
bridges it from side to side. 


Signed on the right, ABrerstapt, 1898. 
Height, 38 inches; length, 61 inches. 


4.30 0 No. 72 


THE DESTRUCTION OF PQ) 


Tue dark surface of the bay is covered with vessels, gal- 
leys, triremes and small boats, crowded with fugitives 
striving to escape from the destruction which is overwhelm- 
ing their cities. In the background the burning mass of 
Vesuvius, rolling her fiery lava down to the water’s edge 
through a score of paths, casts a lurid glow upon the still 
waters, and a thick pall of reeking smoke, blood-red in the 
glare of the eruption, drifts across the sky, obscuring the 
calm face of the full moon. 


Signed on the left, ABtersrapr, 1899. August 24, 99 (retouched). 
Height, 38 inches; width, 61 inches. 


No. 


Soe 
MOUNT TACOMA o, (Pp 


Tue picture is painted from a point on the side of a 
hill which is clad with luxuriant trees, a group of noble 
pines upon the verge of a rocky promontory being espe- 
cially noticeable. From this point is obtained a bird’s- 
eye view of a rich alluvial valley, through which a fair- 
sized river, upon whose surface float two large Indian 
canoes, winds a tortuous course. Upon the right the 
ground swells into a low hill covered with a thick growth 
of pine, while the rest of the valley is pleasantly wooded. 
Beyond the valley rise the foothills of an extensive range 
of mountains, and then the eye is arrested by the stupen- 
dous snow-clad bulk of Tacoma, as it rears its striking 
pyramid against the blue sky, its isolation giving to it a 
peculiar sense of grandeur and adding to its magnitude. 
The snow fields, on one side pink in the glow of the after- 
noon sun, on the other cold and blue in deep shadow, give 
a grateful effect of coolness, in direct contrast to the val- 
ley, which appears to be parched and dry after a burning 
summer. 


Signed on the left, Atpert Brersrapt. 


Height, 4 feet 6 inches; length, 7 feet. 


No. 74 


RANGE NEAR THE CANADIAN BORDER 


Tue foreground of the composition is occupied by a moun- 
tain stream into which a large tree has fallen. It winds 
its way between the hill sides, which are in places covered 
with boulders, in places clothed with dense forests. On 
the left swells up a rounded hill, huge in bulk, but in 
reality nothing more than an outlying buttress of the great 
mountain which appears behind it, its snow-clad peak domi- 
nating the picture, across which the mass of its lower slopes 
and precipices extends. On the right it is swathed in a 
dense bank of cloud, and feathery wisps of mist are float- 
ing gently down the valley. 


Signed on the right, Apert Brersraprt. 


Height, 7 feet 1 inch; width, 5 feet. 


i Be ble 
Se THE SELKIRK Tike 


a) pa? No. 75 7 : 4 
LAST OF THE BUFFALO i Gos q 
Tus picture represents vividly an episode in the ruthless ; 
extermination of the American bison. Before the specta- ° 
tor lies a valley, a mile or two wide, through which winds 
a narrow river, and which is so surrounded by hills as to 
form a natural amphitheatre. In the distance can be seen 
the snow-clad peaks of a lofty range of mountains. The 
floor of this valley and the slope in the foreground lead- 
ing to it are covered with a dense mass of bison and a few 
head of deer slowly moving across the scene. A number 
of them have forded the river, while others are standing 
in the water, drinking and wallowing. On the right a 
band of Indians are stampeding a part of the herd, and 
have commenced an indiscriminate slaughter. In the fore- 
ground one of their number, mounted on a white horse, has 
sustained the charge of a fierce old bull, in whose side sev- 
eral arrows have been deeply planted, and whose suffused 
eye and bloodstained nostril indicate his extremity. The 
horse rears wildly under the shock, while his rider en- — 
deavors to plant a fatal thrust with his spear. Scattered 
around lie many of the great animals, dead and dying, 
although a motionless Indian, his head pillowed on the 
flank of his dead horse, indicates that the destroyers have 
not come off scathless. 


Signed on the right, ALBERT Brerstanr. 


Height, 6 feet; length, 10 feet. 


sey” No. 76 tA 


THE GIANT TREES OF CALIFORNIA 


THE scene shows a small clearing in a forest of the giant 
red-wood trees of California. Prominent in the fore- 
ground is one of immense height, a veritable patriarch of 
the forest, his trunk flecked with broad patches of sun- 
light, with branches broken and riven by the storms of cen- 
turies. At the foot stands a man, affording by comparison 
an excellent idea of the size of the trees, while his com- 
panion is engaged in unsaddling his horse a few yards 
away. ‘The view leads down an avenue in the forest, show- 
ing more of the giants, interspersed with smaller trees, all 
bathed in strong sunlight from a clear blue sky. 


Signed on the left, ABrersranpr. 
Height, 9 feet; width, 5 feet. 


SECOND EVENING’S SALE 


THURSDAY, JANUARY 23p, 1908 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8 0’ CLOCK 


ENGRAVINGS, ETCHINGS, DRAW- 
INGS, WATER COLORS 


BARTOLOZZI, FRANCESCO 


Born at Florence, 1727. Died at Lisbon, 1815. In 
1769, upon the foundation of the Royal Academy, 
Bartolozzi was nominated one of the original members. 
Though he did not originate the stipple manner of 
engraving, he carried the technical fineness of the art 
to a perfection surpassing any subsequent work. 


V7— L’INNOCENCE SE REFUGIANT Te RA 


“ ONG JUSTICE 
After the painting by Madame Vigée Lé/Brun. Stip- 


ple engraving, printed in red. 


: 78—Tue DavuGurers OF GUERCINO IN E Dress Si 

Vik v0 vue CountTRY NEAR BoLocna ie 
After the drawing by Guercino. Stipple engraving, 
printed in red. 


aes! ee eT 
hal 7 va 


79—Youne WoMAN WITH A “On ; tit aa 


oe re After the drawing by Cipriani. Stipple engraving, r 
printed in red. 


9. | 
80—TirLe For Cripriani’s “ oe f sl aeord 


After Cipriani. Stipple engraving, printed in red. 


81—A Sr. Gites Brauty 


After the painting by J. H. Benwell. Stipple en- 
graving, printed in red. 


82—A Sr. James Beauty Vee 
CY ro After the painting by J. H. Benwell. Stipple e | 
graving, printed in red. 
o Loa : 
: Mia PLAYING WITH A vata 9 | 
o After the drawing by Guercino. ; 


84— Four WoMEN AND AN INFANT Af. v4 
Gi se —s After the drawing by Guercino. ; ‘ 
85—Tue Heroism or Prince Epwarp, Son or HENRY 


id ro THE SIXTH vr eS y 
; After Cipriani. Stipple engraving, printed in colors. 


poe ameeee tt : es 
4 After the painting by W. Hamilton. 


87— Portrait oF HANDEL, witH Emsiematic DesiGn, 
Se v2 Fame anv Two Cupips, AND WITH ORNAMENTAL 
BorpDER ENCLOSING Manuscript or Music 


After G. B. Cipriani. Line engraving. 


-H2. 1 


89— AUTUMN 


- 88—Summer Cre Pes S, 
i 4@ After Cipriani. Colored. a4 
) ) 
/ rg. After Cipriani. Colored. 


AFTER BARTOLOZZI 


90— Pautus AEMELIUS 7 
40 After Angelica Kauffman. Colored. oh 7 phn 
91— Tue Happy FatuHer - VN 


4c? From a design by G. B. Cipriani. Colored. 


BARTOLOZZI SCHOOL 


ou DRAWING FROM A STATUETTE OF CUPID 
Stipple engraving by F. C. Stoelzel (1794). It has 


Circular frame. 


922 been folded. dr ? 
eee PLenty, witH a Cupp ~ : Parad 
Two pieces. One lot. 


93— Girt wiTtH a WREATH oF FLOWERS Me he Bsa 


oan Stipple engraving, printed in colors. 


94— Lovers CROWNING A STATUETTE OF Cum > Pea 
/ 


uf #7 Stipple engraving, printed in colors. Circular. 


95—Cuitp AWAKENING Her PLAYMATE > 4 Pape 


ia gv Stipple engraving, printed in colors. Oval. 


96— Maria Cosway Kae VE-Lhane 


ee yo After the painting by herself. Stipple engraving, 
f printed in colors. 


97—TureEe CHILDREN AND A Go Frgrck. Ut 
From a design by seni 1.° Stipple engraving, 


at 
od: printed in red. Siightly repaired at the top of the 
print. 


BEAUVARLET, JACQUES FIRMIN 


Born at Abbeville in 1731. Died in Paris, 1797. A 
pupil, in engraving, of Charles Dupuis and Laurent 
Cars. 


een eke ae 
Tite. Me 


After the painting by Boucher. Line engravin 
i rt 


BRADLEY, BASIL 
99— May-tTimMe: ON THE Tames 1) a: Ole 


yi ne Photogravure. Signed artist’s Yann on India paper. 


CHAUVEL, THEOPHILE 


“ Personne n’a gravé mieux que lui Daubigny, Jules Dupré, 
Théodore Rousseau. Les planches d’aprés ces maitres sont 
d’un rendu saisissant.”—Beraldi. 


100 — So.iTupDE Tye Di df. 
Detrtein, No. 94. . Arl/A_ 1 


AT a 
/ g After the painting by Daubigny. Lettered impres- 
sion on Holland paper. In the opinion of many con- 
noisseurs this is the most beautiful of reproductive 
landscape etchings. 


CLEMENT, A. L. 


101—Tom JoNEs AND SoPHIA, AFTER ee per) 
YA. pan 


4 go After Downman. Aquatint in co 


COUCHE, FRANCOIS LOUIS 


Born in Paris in 1782. Died in 1849. 


102—Pavut Porrer Lo, (? Kp deed 


cee g6 Soft ground etching, after Boguel./ 


COOPER, ROBERT 


103— Love WovunveEp (p a4 


Clas 


After Shelley. Stipple engraving. lored. 


COX, WALTER 


104— Tue Last oF THE Catcu = tine thie 


/), 42 


After the painting by R. H. Carter“/Remarque proof 
on Japan paper. Signed by both \painter and etcher. 


DANZEL, JACQUES CLAUDE 


Born at Abbeville in 1735. Died in 1809. A pupil 
of Beauvarlet. 


105— Lr GAtrav ves Rois Abe Pie 


YO After the painting by Gilles Vantilborgh. Tine en- 


graving, colored. 


V3 7 


a: Rrtrt- 9 9 
ey. 


7 


DE BUCOURT, PHILIBERT LOUIS 


Born in Paris in 1755. Died in 1832. A pupil of 
fe Vax /b Meme 
106— Le MeEeNvetT vDE LA MarI&re i 


2? Painted and engraved by de Bucourt. Printed in 
colors. 


107— La Noce av Cnineav (a0 Ate . 


Painted and engraved by de Bucourt. Printed in 


. pat colors. 


DELATRE, JEAN MARIE 


Born at Abbeville in 1746. Died in 1845. In 1770 
he came to England and worked under Bartolozzi. 
His best plates are after Angelica Kauffman, Wheat- 
ley and Hamilton. 


108—Cuitpren Frxpine Carcnenseete 


After W. Hamilton. Stipple engrayjng, Trtvond in 
on ot red. 


DELLA BELLA, STEFANO 
Born in Florence, 1610. Died, 1664. 


“No artist has handled the point with more facility and 
finesse than Della Bella. His execution is admirable, and 
his touch spirited and picturesque.”—Bryan’s “ Dictionary 
of Painters and Engravers.” 


109— Tuer Fruieut Into aoe WITH THE HEADS OF 


Yeo ANGELS 


With full margins. From a collection unidentifiéd 
by Fagan. 


DURER, ALBERT 
The greatest artist Germany has produced. 


110— Maponna anp CuHILp SEATED, WITH T JOSEPH, 
AND Two Ancets Hotpine a Crow KH 


CG? 42 Woodcut. Diirer’s monogram is in the middle at the 


/ bottom of the print. 
DUTHE df dihie 
AUFRAGE 


111—Uwn Jeune MATELOT RACONTANT SON 


v. yo  dtter W. R. Bigg. Stipple engraving, printed in 
: colors. 


EDELINCK, GERARD 


* Born at Antwerp in 1640, he became French by adoption, 
occupying apartments in the Gobelins, and enjoying a pen- 
sion from Louis XIV. Longhi says that he is the engraver 
whose works, not only according to his own judgment, but 
that of the most intelligent, deserve the first place among 
exemplars, and he attributes to him all perfections in the 
highest degree; design, chiar’oscuro, aérial perspective, local 
tints, softness, lightness, variety—in short, everything which 
can enter into the most exact representation of the true and 
beautiful without the aid of color. Others may have sur- 
passed him in particular things, but, according to the Italian 
teacher, he remains by common consent ‘the prince of 
engraving. ”—Charles Sumner, “Best Portraits in En- 
graving.” 


112— Mansart, JuLtes Harnovin 
Rogert-DumEsnNit, No. 267. 
ia ot cA Superintendent of Buildings to Louis XIV. 


After the painting by Hyacinthe Rigaud. This is 
usually accounted one of the masterpieces of the 


engraver. 


FACIUS, GEORG SIGMUND 


Born at Ratisbon in 1750. Died if'\] vf Ale 
113—Inpusrry, ATTENDED BY PATIENC ASSISTED BY 
PERSEVERANCE, Is CROWNED BY Honor anv RE- 
A woe WARDED BY PLENTY 


After the painting by Angelica Kauffman. Stipple 


engraving, printed in red. 


GREUX, (G. 


114— Lr Gus 


| { a4 After the painting by Corot. Lettered impressi 
on Whatman paper. (Crease through lower portion 
of print.) 


iu ry fof A - - Pra 
HAIG, AXKL H. ) 
The greatest living etcher of architeotes subjects. 


| ye 
115—Scutoss ZWINGENBURG ON THE sect Mn Y : 


ArmstTrONG, No. 53. 


Ahi 
/ vy. Signed artist’s proof on Whatman paper. 250 im- 
pressions only. 


116—Carro: ARAB Srooesny t,t 


ey ee as Armstrone, No. 79. 


Signed artist’s proof on Whatman paper. 250 im- 
pressions only. 


117— Luseck: Tue Bay oer oy 
Armstrone, No. 80. Gr. ge Pye roost 
Sey. 0 Signed artist’s So on Whatman paper. 125 im- 
pressions only. ; 


— 
— 


118—Catrro ly Wd 


ArmstTrRonG, No. 82. 


/ a a" Signed artist’s proof on Whatman paper. 


119—In THE ARAB Quarter, Cairo 7} et, ae 
(rm - 


so ArmstTrONG, No. 88. 
o / Signed artist’s proof on Whatman paper. 275 proofs 
only. 


P 

pet | : 

120— Amiens CATHEDRAL: INTERIOR | 
’ 


a ARMsTRONG, No. 98 
o- Signed artist’s proof on Whatman paper. ! 
“To me such an old world place as this cathedral of Amiens 
is an inexhaustible source of study, reflection and pleasure. 
Advancing in years and experience, and having 
; visited Amiens subsequently many times, the first impres- 
BD sion has; even deepened, and the interior of this cathedral 
still is to me all that is most pure and beautiful in, Gothic 
form.”—Avzel Haig. 


121— Patencia: Tue ALTar OF THE VISITATION 


Armstrone, No. 117. Vyas Vip Wy 
id ah Signed artist’s proof on Japan paper. 


“The Altar of the Visitation is on the south side of the 
coro of the Cathedral of Palencia, the old Roman town of 
Pallantia, in Northern Spain. The paintings mentioned 
represent St. John the Baptist, St. Andrew, St. Lawrence 
and St. Stephen flanking the central picture of the Visi- 
tation.” 


HOGARTH, WILLIAM (AFTER) 


122—-Tur Inpustrriovus APPRENTICE PERFORMING ,THE 


Duty or a CurIsTIAN Vine. Peay 
Line engraving. 
ye 


HUMOROUS 
123—‘‘ SHoutp AuLtp AcCQUALNTANCE Mes : ; a 
hk 4? Lithograph. Colored. rng - : AVL _ q 


‘ A THaw (Y - & 


Kenead ao Aquatints printed in colors. Two pieces in #ne frame, 
one lot. 


125— Meratuic Tractors VA Lae qi 
VV OS a | 


ve aa In colors. 


JAZET, JEAN PIERRE MARIE 


Born in Paris in 1788. Died in 1871. Nephew and 
pupil of De Bucourt. 


126—Francis THE First His Sisttr aay aie OF 
NAVARRE TA ‘ Mev 


TA ang Aquatint. After the painting hy Bonington. 


JUKES, FRANCIS 
Born in 1746. Died in 1812. 


127—Agpey Crusis, NEAR Lion 
ey Aquatint in colors. After the painting by Walunisley. 


128— Bata Poou on THE RIVER vhf Lue. J 


ne To Aquatint in colors. After the painting by Walmsl 


KING, JAMES S. 
129— Wartcuine AND WaitTING pn ne ‘ee 


After the painting by C. R. G incr tee proof 
2. o- $2 onvellum. Signed by painter 4nd nes There were 
printed 150 proofs in this state. 


KNIGHT, CHARLES 


130— Lieut as Love 


| Stipple engraving, printed in red. Margin washed 
108 “9 with India ink. 


KNIGHT, JOSEPH 


131—Own tHE Downs: EveNING Ge Vyne MwA 


ip row?) Original mezzotint. Signed artist’s proof on What- 


man paper. 


LANDSEER, THOMAS 


Born in London in 1795. Died in 1880. His engrav- 
ings are for the most part from the works of his 
brother Edwin, and the pictures of the latter owe 
much of their popularity to the sympathetic rendering 
of this engraver 


132—To Ho’, To Ho’ Vann 4 es 


a go After the painting by Sir Edwin Landseer. Mixed 


engraving. Lettered impression. 


133—Tue Deer Pass t\ te 


After the painting by Sir Edwin Landseer. Mixed 
— ,g engraving. Lettered impression. 


”, 


LE COUTEUX, LIONEL 
A pupil of Waltner. 


134— A Norman MILKMAID 
After the painting by(J. F. Millet. Me Users 
Wy. ane ems, on vellum. 


LE GRAND, AUGUSTIN 
135— Love HEALED 


Stipple engraving. Colored. 


136— CHANGEMENT DE Lait DE PAUL ET VIRGINIE 


=——- 


3 Lo 0 After the painting by Lambert. nae epgoyaving, 
printed in colors. i 


LE GRAND, H. 


ra 
1387—Pavut, ComTEe DE StRAGgNpEy _- fy, HO). e 


aN ioe Line engraving. After the painting by Greuze. 


138—Prtite NANNETTE — n ees. yp 


Oh .20 Line engraving. After the painting by Greuze. 


139—La JEUNE PENSIONNAI ay 
{ v¢  Stipple engraving from his én design. Printed in 


colors. 


140— Le CuHaAaPrAU DE LA MARIEE ws Cabos 


af So Stipple engraving from his owv design. Printed in 
colors. 


LIGER 
L’Ers 


ees. B: Huet. al. 
141 - 
L’Hiver 


yo\ After J. B. Huet. Engraved by Duruisseau. 
¢ A pair. In colors. Two pieces. One lot. 


LUCIEN, JEAN BAPTISTE 


Born in Paris in 1748. Died in 1806. 


142—Cnitp’s Heap SP ynpe , Work 


After a drawing by Greuze. Stipple ghgraving, 
C, be 3 : 
‘ printed in red. It has been torn. 


MACBETH, ROBERT W. 


143— Tuer Piep Pieper or Hamepin: T BEGUILING OF 
THE CHILDREN : . 


§ Uf 7° After the painting by G. J. Pinw Lettered im- 
pression on Whatman paper. 


144— Tue Piep Pieper or Hamevin: THe BEGUILING OF 


LZ , THE Rats #3 e 
Bie After the painting by G. J. Pinwell. Lettered im- 
pression on Whatman paper. 


MANDEL, EDUARD 


The last of the great line engrave 


| rs. 
145— Marer Dotorosa ees yp 


02.47 Tine engraving, after the painting by Carlo Dolce. 


146— 


bie 
147— 
ye 


148 


7" 


149 
oF 


150— 


Kes 


151— Tue FarMer’s STABLE 


DQ « 


— WasHINGTON AND Ppp, FH ) 
After the painting b enry AY ‘Sue d 


may pre eA Vav.24 /b te 


MARIAGE, | LOUIS me 


Le Premier NAVIGATEUR ARRETE a PIS. DE LA 
HaAvaNE 


After the painting by Charpeatea P pdarae engrav- 


ing, printed in colors. y L SS 


Le PREMIER ae DANS SA BARQUE 


After the painting by Charpentier. Stipple engrav- 
ing, printed in colors. 


McRAE, JOHN 7 


impression. 


MICHEL, JEAN BAPTISTE 


Born in Paris, 1738. Died in 1804. 


After the painting by William Hamilton. Stipple 
engraving, printed in red. 


MORLAND, GEORGE (AFTER) 


EvENING; or, THE sane RarpRN 
In colors. yi : tv ht. 


ah Up te “To 


152—Mornine; or, THe Hicerers PREPARING FO 


oo en Pm. A Prvvrar_ 


In colors. 


153—Tue Farm Yarp I ty h 
1 In colors. 


154— Tue Vittacers’ Repast Sn (/3 Prada 


ye ¢¢ In colors. 
155— Tue Anxious Famiry Dyna. vai ry) 
¥ 7@ Jn colors. 


NAPOLEONIANA yy 


156—NapoLreon’s AscENT AND DESCENT VM. . BRIDGE 


oF LIFE 
3. 4¢ 
Line engraving. In colors. 


157—Napo.teon at RaAtisBon KY (9. Pit hee 
ie ikd Lithograph. Colored. 


158—Tue Kine or BrospinenaG AND GULLIVER (Napo- 
o. % LEON AND Kina GrorGe) m4 ” " 
Colored. 


PELLI, MARCUS 


159—Sr. Francis pE Paun ( y 


- ed After the painting by J. B. Piazetta. 


POLITICAL CARICATURE 


160— Moruer Carery’s CHICKE Be q 

In colors. MG (7. ide 4 

St 4 
RYALL, HENRY THOMAS 


161—CuancinG PasturRE C9. (/3 SF itdopee ; 
After the painting by Rosa Bonheur. Lettered im- - 


/ 2 as pression. 


SADELER, JAN 


Born at Brussels in 1550. Died in 1600. 


“ His plates are executed with the graver only, in a neat, 
clear style.” 


> 162— Wiweus A). Ri Fruedonan | 


UL. After Theodore Bernard. Line engraving. 


SAENREDAM, JOANNES 


Born at Zaandam in 1565. Died in 1607. Pupil of 
Hendrik Goltzius and Jakob de Gheyn. 


163—ANNUNCIATION TO THE sunk) (9: ¥ » 


Og. After the painting by Bloemart (1599). 


SCHIAVONETTI, LUIGI 


Born at Bassano, 1765. Died in 1810. A fellow- 
worker with Bartolozzi. 


164— Mrs. Cosway (Vr 


After the painting by Richard Cosway. Stipple en- 
me . graving. Colored. 


SCHLECHT, CHARLES 


165— ALonE ie. ender 


After the painting by Percy Mov4n. Proof on India 
y, rd paper. Signed by painter and efgraver. 


eee YE Wi 
neg,,cb 


166—Tue Sartor Boy’s Return Fr 
VoYAGE 
Od re After the painting by W. R. Bigg. Stipple engrav- 
ing, printed in colors. Full margin; margin somewhat 
foxed. 


SHARE, H. PRUETT 


167—Homewarp Bovunp Te Aho 


| 4 ev After the painting by M. J. Byrns. ReAtone proof 
; on Japan paper. Signed by painter and etcher. 
There were printed 100 proofs only in this state. 


SIMON, J. P. ? 
168—Nr w’UN ni L’AuTRE ie eG 6 Lone ; 


7 Stipple engraving, after the painting by Mlle. Jenny 
: Disora. Lettered impression. 


oO “hs 


: 
Stipple engraving by Delegorgue, after the painting 
fe sv by Mile. Jenny Disora. (Companion to the preced- 
ing.) Lettered impression. 


69—‘‘ An! C’EN EsT FAIT. JE ME MARIE. 


TEMPESTA, ANTONIO 


A Hawkine Party 
Line engraving. ws GOs, G 
Country SCENE, witH PEAsaNtTs DRINKING. 


ov | Line engraving. 
a Two pieces. One lot. 


170 


VARIOUS 


Engravings by various artists. 


— 171—L’Hevrevse Famityie Tw W Ae “a ‘ 


ORES 
. Colored mezzotint. 


172— Lr Repas p’AmMouR £, 4 we ! 


ae oe Stipple engraving. Colored. 


173 
(O°. 


ie TRAVELLER’S DEPARTURE 


Tue TRAVELLER’s RETURN AN (3- Y 


Line engravings, printed in color. A pair. Two 
pieces. One lot. 


174—Girt with a Kitten /}Vian 7h earac) 


us AE Gs Colored print. 


175— CuitprEN witu KiITTENs NY) (3: we / q 


», ra Colored print, after Lassalle. 


fs a4 ig colors. 


177— Man SrEatTED AND SEEN FROM BEHIND v4 We Tl 


as, _‘? After Boucher. Somewhat creased. 


178—VeEeNus wits Cupip aNp Doves ) i 147) Le if 


176— Tue CoNTENTED Warerman(/ ro (3 TOL 


Sc Reeeeeeeeneeemiemmenenneneeeeeee 


Line engraving. 


LE oo 179— Tue LertTer 
Colored photograph. After Meissonier. 


180— Tue Haymaxer’s CuILp oe | 
of °%% Stipple engraving. In colors. 4 | 
| 181— Mize. pe La Va.uirre Presented zo Lovis Vv. i) 
cx / yw tipple. In colors. ane: Ln. 
oo /. 

Nruwiep oN RHINE f 

182 id 

g ve ( HemEeLeere Vy 
Line engravings. Colored. Two pieces. One lot. 

183— Portrair oF AN OFFICER ha Fi he 

3. o7% Aquatint. In colors. 


Tue Horty Famity witu St. JoHn 
Painting on ivory. 


Wy 184 Ben Nevis A) (at Py VY . 


WoopLaNp SCENE 


og ap 5 ea = to a a Se eee a ee 


ErcHinG IN MANNER oF REMBRANDT. 
Head of a man. 
Four pieces. One lot. 


ee 4 Oiled Py nk jo Meh nar] 


BP Cie aim Moelle nl 


VEDOVATO, ae 


185— Tue Doe’s First Sicut or el 


After J. Russell. Stipple engraving. Colored. 


3. J 
WARD, WILLIAM 


Born in London in 1766. Died 1826. Brother of 
James Ward. Brother-in-law of George Morland. 
A pupil of John Raphael Smith. 


186— SaiLors IN CONVERSATION oA A C fm 


9 After George Morland. Mezzotint engraving. Col- 
co ie “e ored. Published October 25, 1802. 


WHISTLER, JAMES A. McNEILL 
187 — RoTHERHITHE anyy AD rh 
hate ra Wepmore, No. 60. 
One of the Thames Set. The plate is destroyed. 


“This plate is one of the strongest and most vigorous of 
the series.”,—-T. R. Way, “The Art of J. McNeill Whee 
p. 69. 


ORIGINAL DRAWINGS 


DE MATTEIS, ULISSE 


188— CuristT, THE PLEADER Th oe 
Crayon drawing. Signed in full, and dated Florence, 


Via 1883. 


189— Tue ANGEL or PEACE Thy, We 


Ja Crayon drawing. Signed in full, and dated Florence, 
1883. 
a? 


DUSART, CORNELIS 


Born at Haarlem in 1660. Died 1704. <A pupil of 
Adriaan Van Ostade, whose style he imitated with 
considerable success. 


“His compositions are ingenious and his touch very spirited.” 


—Bryan’s “ Dictionary of Painters eed Lae 


190— Peasants CoNVERSING IN FrRoNT oF Aa HovusE 


5 a Pen and ink drawing, heightened with wash. Un- 
| signed. 


JORDAENS (SCHOOL OF) 


b 


191— Peasants AskING A BLEssINc ON THEIR ReEpPAstT 


Pen and ink drawing, heightened with wash. Un- 
a [CC _ signed. 


FROMENTIN, EUGENE 


Born at La Rochelle in 1820. Died 1876 
192—A SKIRMISH BETWEEN FRENCH le A 


a a Bee 4 
Yo 4% 
oF ARABS 


ee” Very fine drawing in charcoal. Signed in lower left- | 
hand corner, “ E. Fromentin.” 


PILS, ISIDORE ALEXANDRE 


Born in Paris, 1813. Died 1875. His reputation — 
rests upon his military subjects. They depict mainly 


incidents of the campaign in the ee. 
193—A Brivovac Vy 


Crayon drawing, heightened with touches of /white 
i ) *? chalk. Signed, “ Pils, 1851.” } 


ORIGINAL DRAWINGS BY VARIOUS UN- 
IDENTIFIED ARTISTS 


194— VENus, wiTH SPoRTING Cormf Alleles 
A C8 fis . é 
i 


Spirited drawing in red chalk. 


195—La MarcHaANpDE bp AMouRS 


Drawing in pen and ink and wash. 


196—Tuer Oxtp Farm 
f wv? A wash drawing in sepia and tint. Unsigned. 


197— WaysipE INN 


Wash drawing of a charming rustic scene. Unsigned. 


DETAILLE, EDOUARD de ER) _ 


198— Tur Stanparp BEARER 


f y) ype Reproduction of a pen Ln Me %0 


WATER COLOR 


199—Rapuaet’s “ Hours ” - Thue 


Twelve highly finished water colors, each one meas- 
{ py uring 1414 by 101% inches. After the famous series 
J by Raphael. Below the main composition, in each 
case, is a pradella, portraying the characteristic event 
of that especial hour. Twelve pieces. To be sold as 

one lot. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


Moss 
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